The Stud

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source: The Stud

I'd managed to avoid this film for decades but, in the end, my curiosity got the better of me and I thought I'd take a look. My expectations were set pretty low, which was just as well as it's laughably naff, cheesy and low budget. I won't go into the plot (such as it is), but it's really a vehicle for Joan Collins to hone her bitchy cougar persona to the hilt - while getting caught up in a predictably doomed love and lust tangle. Oliver Tobias is suitably sullen as her love-interest, and the sex and orgy scenes (which presumably at the time were very racy and made the film so popular for cinema goers) are now very tame and even a bit silly. There is of course the late 70s disco soundtrack which adds to the cheese - as well as providing lengthy scenes of disco dancing in a nightclub that just feel like padding in a film that was pretty thin on the ground to start with! Some of the locations are good (villages in Berks & Bucks, and the indoor swimming pool), but as whole this film is extremely tedious, risible, and very much a bi-product of its time.

Oliver Tobias plays Tony Blake; plaything to the wealthy ladies of the decadent London disco club scene. Tony is a working class guy, trying to climb the ladder of fortune and success, by using his sexy looks and charm. Unfortunately the hustler is no match for female hustler, lady-shark Fontaine Khalad, played to perfection by Joan Collins. And when Tony begins to have real romantic feelings for Fontaine's teenage stepdaughter, it's the beginning of the end for our anti-hero. "The Stud" is an amazing time capsule, a vivid documentation of a decadent decade where disco and drugs were King. Surprisingly atmospheric, as well as effectively seedy and depressing, but it really has a heart when it comes to showing the rise and fall of Tony Blake. He is the perfect British "working class hero," who turns out to be more noble than any of the high society people that feed on him and throw him to the wolves. This is no "Boogie Nights," or "54," it is the real deal. The soundtrack is impressive, and it is a wonder how they got permission to use all these very popular songs for the production; this movie was apparently a very big deal at the time, and a big hit too. Collins is wonderful in her role as the jaded, two-timing bitch, but it is Oliver Tobias who gives this film it's soul. Followed by a sequel, "The Bitch," but this is by far the better film. Recommended for fans of 70's exploitation films. For those who believe the 70's were a happy and innocent time, see "The Stud." It really shatters that myth..

The Stud (1978) * 1/2 (out of 4) Incredibly silly but sleazy "drama" about Fontaine (Joan Collins), a woman married to a very rich man but whose having an affair with Tony (Oliver Tobias), the stud running their club. Poor Tony is good looking and has an unlimited number of great looking women wanting to sleep with him but before long the stud begins to feel sorry for himself. THE STUD is a pretty awful movie that came out of nowhere and somehow became a very big hit. Who knows why something like this would have become a hit but I'm going to guess that part of the reason was the awful disco era that was going on at the time and the fact that someone like Collins was going full nudity and trashy with the material. Yes, the film is sleazy, campy and at times trashy but that still doesn't make for a lot of entertainment. The biggest problem with the film is that none of the characters are all that entertaining. I've read some reviews that complained that none of them were likable but that I really don't care about. You don't have to have likable characters for a movie to work but you do need to have some that are interesting. All of the characters here were rather forgettable and boring. The same could be said for the performances but it seems the two leads are having fun with their roles and especially Collins and her bitch quality. The film became somewhat notorious for the various bits of nudity and sex. The highlight of all of this is a bizarre pool orgy sequence, which is just campy enough to where you can have a good laugh at its expense. The film is certainly a very bad one but it remains mildly interesting just because of the weird stuff going on. Did I mention the awful title song, which was clearly ripping off the SHAFT theme?

From reading the reviews on here they seem to be a mixed bag, too many people on here who post reviews are trying to hard to be next Barry Norman, The Stud is the classic cult movie, yes it's outlandish in parts, majority of cast turn up and deliver a performance, even the bad actors try, it's not meant to be Shakespeare, it's what it's meant to be an easy watch, from a bygone era, a time capsule of 1970s London, Collins is on top form, Mark Burns "Leonard Grant" almost steals the movie with surreal bits of wisdom, Doug Fisher delivers the best lines, yes it's seedy, dark,silly in parts but it's a classic.

Far from it, ten times more people were into disco and this film is probably a better reflection of the late 70s than Jubilee, with its Britain is finished, let's celebrate all that's grotty and rotten about the country. After all, where would you rather be, in some smashed up slum in punk gear, or down some high class disco being seduced by Joan Collins, what we would nowadays call a classy MILF. I am sure millions who attended their local Roxy every Saturday imagined they were in Hobos and flocked to their local fleapit to see what proved to be Joan Collins comeback after such dross as Empire of the Ants. Also the soundtrack, about the best thing about The Stud, sold in huge numbers. However, the film is complete schlock and little better than other soft * of the period. It does have a sort of so bad it's good feel to it, but is a rather sleazy, dull film that has dated badly. I know as a seventies nostalgist I would watch it if it was on, if only for the music, but I would give The Stud one look and then put it back in its case as the acting is hammy and the plot is threadbare.

This film, while utter trash from beginning to end, has tremendous camp value along the lines of "The Lonely Lady" and "Showgirls". For one thing, fans of the TV show "Dynasty" are REQUIRED to rent and watch this soft-core * fiasco to see their beloved Alexis Carrington Colby Dexter (etc.), Joan Collins, boffing in the buff as rich-bitch disco maven, Fontaine Khaled (Fontaine is a forerunner of Alexis if ever there was one!). You could even say Fontaine is a sort of "Alexis Uncensored" -- Fontaine has all the glamorous window dressing of Alexis while tossing-off vulgar quips like, "Doesn't that give you a hard-on?" (Yes, you WILL howl when you hear the lines coming out of La Collins' mouth!). Wealthy wives who are bored silly, Fontaine and her corrupt girlfriend Vanessa spend their leisure time plotting trysts and comparing notes on sex while getting massages and applying make-up. It's all too, too FABULOUS! The so-called "plot" (thanks to Joan Collins' sister Jackie's bestselling novel) is thin stuff at best, almost arbitrarily following the whims and fancies of the rich-and-famous as they use and abuse one Tony Blake, a relatively attractive and ambitious young man who has foolishly resorted to hustling to pay the bills (played by Oliver Tobias, who would also run around naked in another tawdry production, "The Wicked Lady", co-starring Faye Dunaway, some five years later). It's the old "hooker with a heart of gold" story all over again; Tony becomes introspective over the course of the film and starts questioning his lifestyle. Without giving anything else away, your jaw will absolutely drop by the time the orgy scene rolls around. ASIDE: this is almost certainly the inspiration for 1980's "American Gigolo" starring Richard Gere as a hustler whose devil-may-care lifestyle finally catches up with him. Huge points are awarded to composer Biddu for the score to "The Stud". Some well-known songs punctuate the disco soundtrack which is unparalleled and truly captures the shallow, glittery period. I only wish it were available on CD (though the credits state an album was available on the RONCO label...). Good News: both THE STUD and THE BITCH have, as of February 2006, finally been released to Region 1 DVD in a boxed set! I've yet to watch either film, but have them on order, and will edit my comments accordingly sometime in March to say how the release turned out. Bad news: Thorn EMI's rather ancient VHS release (if that's all you can get your hands on, or if that's the level of technology you're currently stuck with) suffers from very bad sound. Dialog drops out from time to time, making nuances of the story irritatingly difficult to follow -- you have to keep adjusting the volume on your TV upward to hear what's being said, then down again so you don't get blasted to death by scenes in the disco. I've checked several commercially released copies of "The Stud" on VHS and they all suffered from the same sound problems, so it's Thorn EMI's fault. Which is too bad. "The Stud" is an example of bad film-making at its most obnoxious and should be witnessed by everyone who is either a fan of "bad cinema" or merely familiar with the work of Joan Collins.

I can't pretend otherwise, I've always loved this film and it's one of my guilty pleasures for a rainy afternoon, or more likely a night in with a few drinks. It's astoundingly dreary looking: apart from Joan's soft focus entrance there is precious little opulence on display. The film is low-lit and rather seedy looking. The opening credits sequence remarkably switches from day to night and back again! But right from the start, when the incredibly beautiful Felicity departs after a night with Tony, and then the sequence of him dressing and going out to the sound of the irresistible theme tune (watch Oliver Tobias trying to say "you handsome bastard" tro himself as quietly as possible!), this is a classic quotealong movie. Some of the one liners are great: "they ask for comics and a bag of sweets you give 'em penthouse and amyl nitrate" and best of all "there are two sorts of women in this world. The first sort pick you up and screw you, the second sort pick your brains and screw you up." It's rubbish of course, but however good it may or may not be its about the disco scene and shagging so it will always be seen in that way. Whatever happened to the director? Oliver Tobias is rather underused in the film it must be said: he doesn't have much to do and is rather overshadowed by super-bitch Fontaine. But the soundtrack is great, and the film is fun. And the scenes with Tony and his pals are the best in the movie. Those three deserved a series! But why does Ben return the video to Fontaine? Surely he'll need it as evidence?

Like the follow-up to "The Bitch", this is a Joan/Jackie Collins vehicle which represents an epiphany of late 1970s excess and trash. We are shown a group of privileged amoral silly people in a way which attempts to "glamorise" their vapid "shopping and shagging" lifestyle. So meet the improbably named "Khalid Fontaine" (Collins playing a pre-Alexis Alexis), owner of nightclub "The Hobo", possibly the tackiest dive to ever soil the streets of London, England. Oliver Tobias plays the titular lead, an anti-hero who we recoil from. Every scene is more excessive and ridiculous than the one before. The dialogue is wooden and childish. Collins' delivery is at its worst ever (apart from the Bitch), and that's saying something. She feels compelled to pronounce the last word of every line as if it's written in CAPS LOCK, bold case and italics in the script. The drugged-out swimming pool scene is horrific. Did we have to see Joan's chest? The whole film is like an over-imaginative, over-sexed 14 year old's fantasy of the way that rich people must live. See it! See it now!